Ways of looking at Wallace Stevens poetry

Delzi Alves Laranjeira

Universidade Federal de Minas Gerais
Abstract: In Thirteen ways of looking at a blackbird Wallace Stevens applies his
theoretical conceptions of poetry, which are pervaded by the question of how creative
iagination interediates reality in the actual world! Iage, iagination and reality are
condensed into the etaphor of the blackbird, also ephasi"ed by the drawings of the
poe!
es!"o: #" $%&irteen 'ays of looking at a (lack(ird) pode"os inferir as concep*+es
te,ricas de Wallace Stevens so(re o fazer po-tico. o /!al -. na s!a vis0o. "arcado pela
/!est0o de co"o a i"agina*0o criativa "edia a realidade do "!ndo1 2"age". i"agina*0o e
realidade s0o condensadas no poe"a atrav-s da "et3fora onipresente do blackbird.
enfatizada ta"(-" pelas il!stra*+es do poe"a1
4alavras5c&ave: poesia de Wallace Stevens. i"age". i"agina*0o. realidade
#ey words$ Wallace Stevens%s poetry, iage, iagination, reality!
Wallace Stevens &as (een considered one of t&e (est A"erican poets of t&e last
cent!ry1 %&ere is a consens!s t&at &is poetry. at first !nnoticed (y critics and p!(lic. &as
co"e to (e a consistent and po'erf!l reflection on t&e role of i"agination. reality and poetry
itself. and also on $t&e relation of t&e poet to '&at &e perceives) 67AD7U8. 9:;<: 9;9=1
>arold 7loo". for instance. regards Stevens as one of '&at &e calls $strong poets). t&at is.
t&e poets '&o "anaged to 'in t&e (attle against t&eir prec!rsors. and ac/!ired t&eir o'n
poetic strengt& 69::<: ?9=1
7esides of 'riting poe"s. Stevens also 'rote on poetry and &is t&eory is connected
'it& t&e str!ct!re of reality (eca!se for &i". $reality is t&e central reference to poetry)
6S%#@#AS. 9:;B: ?C=1 >e conceived reality as everyt&ing perceived (y t&e "ind and poetry
is (orn fro" t&e po'er of i"agination to t&ro' insig&ts into reality1 2n &is essay $%&ree
acade"ic pieces: 2) Stevens eDpands &is concept of reality introd!cing t&e idea of
$rese"(lance). affir"ing t&at $one of t&e significant co"ponents of t&e str!ct!re of reality
EisF 6111= t&e rese"(lance (et'een t&ings1 6111= E2tF constit!tes a relation (et'een t&e" since.
in so"e sense. all t&ings rese"(le eac& ot&er)69:;B: ?C=1 %&e "etap&or G alt&o!g& Stevens
prefers t&e 'ord $"eta"orp&osis) G. t&en. is f!nda"ental to poetry (eca!se it is $t&e
creation of rese"(lance (y t&e i"agination) 69:;B: ?C=1
According to Aort&rop Frye. $Wallace Stevens 'as a poet to '&o" t&eory and
practice of poetry 'ere insepara(le) 69:;B: 9;9=1 %&e reading of Stevens poe"s confir"s
Fryes state"ent1 %&e poe" $%&irteen 'ays of looking at a (lack(ird). for instance. conveys
t&ro!g& its "etap&ors and i"ages. t&e idea of rese"(lance and t&e role of i"agination in t&e
act of creating $a reality of its o'n) '&ic& Stevens talks a(o!t in &is essay 69:;B: ?H=1
As t&e very title tells. Stevens (lack(ird is conveyed in t&irteen different 'ays1 #ac&
one of t&e" co"po!nds a stanza of t&e poe"1 %&e i"ages are apparently o!t of order and
'it&o!t connection to eac& ot&er. (!t a close reading of t&e" reveal t&e connections. or t&e
rese"(lances a"ong t&e"1 At first. t&e only !nifying ele"ent is t&e prevailing presence of
t&e (lack(ird1
$%&irteen Ways of Looking at a 7lack(ird). like "ost of Stevens poe"s. does not
follo' a traditional pattern concerning for": t&e lengt& of t&e stanzas is irreg!lar. t&ere is
neit&er r&y"e sc&e"e nor a concern 'it& "eter1 %&e first stanza of t&e poe" is co"po!nded
(y t&ree verses1 2t presents t&e (lack(ird in a 'inter. static landscape. in '&ic& t&e
?
(lack(irds eye. is $EtF&e only "oving t&ing)1
9
%&is i"age of t&e first stanza can (e co"pared
to t&e one presented in stanza I222. t&e last one1 2n t&is stanza t&ere is. again. t&e presence
of sno'. it is sno'ing and $EtF&e (lack(ird satJ 2n t&e cedar li"(s) 6&'. :<=1 %&e
rese"(lance (et'een t&ese t'o scenes is not only restricted to t&e sno'y landscape and t&e
presence of t&e (lack(ird: it also concerns t&e idea of "ove"ent1 2n stanza 2. t&e sno' is
static on t&e "o!ntains and t&e (lack(ird "oves1 2n stanza I222. on t&e contrary. t&e sno' is
"ovingGit is fallingG and t&e (lack(ird is static on t&e tree1 Move"ent is an i"portant
ele"ent in Stevens poetry1 As &e &ig&lig&ts in anot&er poe". $life is "otion) 6&'. HB=1 7y
conferring "ove"ent to (ot& a 'inter landscape. !s!ally a sy"(ol of deat&. and t&e
(lack(ird. '&ic&. toget&er 'it& $ravens. cro's and ot&er (irds of (lack &!e are often
associated 'it& disaster and deat&) 67L#SS2AG. 9:KL: ?;=. Stevens s!(verts t&e negative
i"age !s!ally associated to t&e"1
%&e second stanza s&o's "ore directly t&e rese"(lance (et'een t&e tree and t&e
poetic $2)1 Willia" 7!rney says t&at $'&en Stevens !ses t&e prono!n $2) &e !s!ally intends
to i"ply a reflective or introspective "ove"ent of conscio!sness) 69:;H: BL=1

%&e
rese"(lance of a tree 'it& a &!"an "ind s!ggests a (alance. (!t also a frag"entation of t&e
conscio!s level1 %&ere is a p!n involving t&e 'ords $t&ree) and $tree): as t&ey rese"(le
eac& ot&er p&onetically. t&ey e"p&asize t&e t&ree levels of t&e "ind. like a tree &as roots.
tr!nk and leaves1 %&e (lack(ird. '&ic& is o(served in an eDternal reality in t&e first stanza.
no' invades t&e inner landscape of t&e speakers "ind and. like in stanza I222. sits in t&e
(ranc&es of t&is $conscio!sness tree)1
9
S%#@#AS. Wallace1 The collected poes of Wallace Stevens1 Ae' 8ork: Alfred A1
Mnopf. 9:<K1 p1 :?1 F!rt&er references to $%&irteen 'ays of looking at a (lack(ird) and
ot&er poe"s are to t&is edition and 'ill (e indicated parent&etically in t&e teDt !nder t&e
a((reviation &' and page n!"(er1
B
Stanza 222. a d!et t&at no' places t&e (lack(ird 'it&in an a!t!"nal landscape. points
o!t to t&e rese"(lance (et'een t&e (lack(ird and leaves: like falling leaves. t&e (lack(ird
'&irls $in t&e a!t!"n 'inds) 6N4. :B=1 %&e second verseG $2t 'as a s"all part of t&e
panto"i"e) 6N4. :B=G reinforces t&e idea t&at t&e scene is a kind of $snaps&ot) taken fro"
an o(server of an a!t!"n day1 2n t&e t&eater of nat!re. t&e (lack(ird. like t&e leaves. plays
its role1 Like so"eone '&o foc!ses a ca"era on a partic!lar scene. t&e poet foc!ses on t&e
(lack(ird in t&is "o"ent of integration 'it& nat!re1
%&e fo!rt& stanza starts 'it& t&e affir"ation of an !navoida(le !nity of t'o (odies
and "inds:
A "an and a 'o"an
Are one1 6&'. :B=
%&is is a conventional $N&ristian clic&-) 67L#SS2AG. 9:KL: ?H= and t&e incl!sion of t&e
(lack(ird in t&e t&ird verse (reaks 'it& and "akes possi(le a constr!ction of a ne' !nity1
%&is !nity &ig&lig&ts t&at t&ere is a rese"(lance (et'een a "an. a 'o"an and a (lack(ird.
'&atever t&is rese"(lance see"s to (e logical or not1 As Stevens &i"self points o!t. $EiFf
rese"(lance is descri(ed as a partial si"ilarity (et'een t'o dissi"ilar t&ings. it co"ple"ents
and reinforces t&at '&ic& t&e t'o dissi"ilar t&ings &ave in co""on) 69:;B: ?K=1 According
to ic&ard 7lessing. $EsFtanza 2@ presents a /!ite re"arka(le 'ay of looking at a (lack(ird.
a 'ay per&aps antit&etical to t&e vie' of t&e (lack(irds offered in stanza 22) 69:KL: ?H=1

2f in
stanza 22 t&e (lack(ird takes part in a frag"ented "ind. in stanza 2@ it is t&e t&ird ele"ent
t&at co"pletes a !nityGlike t&e Divine %rinity1 Stevens insig&t in stanza 2@ "ay (e seen as
a direct application of &is t&eory of poetry. '&ic& says t&at $reality can (e faced tr!ly only
'&en 'e face it i"aginatively) 6WAGA#. 9:;B: KC=1 %&e constr!ction of t&e !nity for"ed
(y "an. 'o"an and (lack(ird is $ErFeality as a t&ing seen (y t&e "indJ Aot t&at '&ic& is (!t
t&at '&ic& is appre&ended)1 6&'. C;H=1
C
2n stanza @ t&e speaker is !ndecided a"ong t&e c&oice of so!nds &e can appre&end1
%&e (lack(irds song rese"(les t&e (ea!ty of inflections and inn!endoes to &i". (!t &e is not
a(le to kno' $'&ic& one to prefer) 6&'. :B=1 %&e last verseG)Or j!st after)Gpoints o!t to
anot&er option. '&ic& co!ld (e listening to all t&ose so!nds and t&en enjoying t&e" in a p!re
"o"ent of reflection in silence. '&en t&e "ind 'orks !pon reality and c&anges it1 %&is
stanza see"s to indicate t&at t&e poets s!ggestion in t&is case is to leave all c&oices open1
Stanza @2 is t&e longest and one of t&e "ost a(stract of t&e poe"1 %&e (lack(ird is
seen again in 'inter scenery1 Like in stanza 2. t&e (lack(ird is "oving. or (etter. its s&ado'
crosses $t&e (ar(aric glass) of t&e 'indo'1 %&e (lack(ird itself is not seen. only &is s&ado'
goes $to and fro) conferring a certain degree of !nreality to t&e scene1 ic&ard 7lessing
s!ggests t&at
EpFer&aps t&e $to and fro) "otion of t&e (lack(ird 6111= re"inds t&e 'atc&er of
t&e "ove"ent of a pend!l!". of t&e ineDora(ility of ti"e1 %&is rese"(lance.
co!pled 'it& t&e starkness of t&e 'inter scene. "ig&t &elp to eDplain t&e ca!se
of t&e "ood. '&ic& $traced in t&e s&ado'JAn indecip&era(le ca!se)69:KL: B9=1
Meaning in stanza @2 is very fl!id1 2t see"s to (e one "ore vie' of Stevens perception of a
partic!lar reality. already transfor"ed (y t&e po'er of i"agination. as &e often e"p&asized
in t&eory as 'ell as in practice1
%&e (lack(ird of stanza @22 is in an opposite place in relation to t&e golden (irds
i"agined (y t&e $t&in "en of >adda")1 %&e 'ord $t&in) in t&is case is an a"(ig!o!s one
and "ay "ean t&inness of t&e "ind rat&er t&an of t&e (ody. as noticed (y ic&ard 7lessing:
$EtF&inness in Stevens !s!ally represents concern 'it& t&e 'rong kind of kno'ledge.
kno'ledge in t&e a(stract rat&er t&an in t&e partic!lar) 69:KL: B9=1 %&e coldness and
i""o(ility of t&e golden (irds contrast 'it& t&e "ove"ent. gaiety. and c&eerf!lness of t&e
<
(lack(ird '&ic& $'alks aro!nd t&e feetJOf t&e 'o"en 6111=) 6&'. :B=1 %&e "ens of >adda"
"inds are t&in (eca!se t&ey are not a(le to perceive t&e 'orld o!tside. (!t only t&e 'orld of
t&e golden (irds. a $'orld of artifice and per"anence) 67L#SS2AG. 9:KL: B9=1

%&is 'orld
re"inds t&at one created (y 8eats in &is poe" $Sailing to 7yzanti!"). in '&ic& t&e golden
(ird "eans a 'ay o!t of an ep&e"eral life and ac&ieve"ent of eternity t&ro!g& art1 %&e
(lack(ird in t&is sense (eco"es an ele"ent of a'areness of reality. in opposition to t&e
escapis" of t&e "en of >adda"1
Stanzas @222 and I are related to eac& ot&er (eca!se (ot& esta(lis& a connection
(et'een t&e (lack(ird and t&e process of creation1 2n stanza @222 t&e speaker recognizes t&at
alt&o!g& &e kno's $no(le accents JAnd l!cid. inescapa(le r&yt&"s) 6&'. :C=. it is not
eno!g& to res!lt in poetry1 %&ere is an a'areness t&at t&e (lack(ird "akes difference. t&at
t&e (lack(ird is t&e one '&ic& &as t&e po'er to inspire. like in stanza I. '&en $at t&e sig&ts
of (lack(irdsJFlying in a green lig&t) 6&'. :C= t&e (a'ds of e!p&ony. $t&e poets of an
inferior grade) are finally a(le to prod!ce tr!e pleasant so!nds 67L#SS2AG. 9:KL: BL=1 2t
&appens only '&en t&ey (eco"e a'are. like t&e poet in stanza @222. $t&at t&e (lack(ird is
involvedJ2n '&at Et&eyF kno') 6&'. :C=1
%&e reading of stanza I2 gives t&e i"pression t&at t&e (lack(ird conveys a negative
connotation. t&at its i"age is associated 'it& (ad o"en or so"et&ing evil1 2t &appens
(eca!se t&e rider. d!ring &is trip. is pierced (y a fear of &aving seen (lack(irds1 2t is
interesting to notice. &o'ever. t&at &e rides $in a glass coac&). and t&e glass "ay &ave
distorted t&e vie' of t&e nervo!s rider. so t&at &e does not see in fact t&e (lack(irds. (!t
$t&e s&ado' of &is e/!ipage). or in ic&ard #ll"ans 'ords. $&is o'n dark "ind) 69:<K:
9LB=1
;
2n stanza @2 t&e s&ado' of t&e (lack(ird also crosses t&e 'indo' 'it& $(ar(aric
glass)1 %&e indecip&era(le ca!se traced in t&e s&ado' "ay (e ca!sed (y a distorted vision
t&ro!g& t&e glass. since it is $al"ost al'ays a (ar to sig&t for Stevens) 6#LLMAA. 9:<K:
9LB=1 2t can (e inferred fro" t&is t&at any negative idea connected to t&e (lack(ird (ot& in
stanzas @2 or I2 is not provoked (y t&e i"age of t&e (lack(ird itself. (!t (y a "istaken vie'
of it1 %&e glass deceives (eca!se its transparency "akes (elieving t&at t&ere is not&ing
(et'een t&e eye and t&e t&ing seen. giving a false i"pression of t&e real1 Stevens poe"
s&o's t&at t&is 'ay of seeing t&e (lack(irdGas in stanzas @2 and I2Gis different fro" t&e
ot&ers '&ic& place t&e (lack(ird in a reality "ediated only (y i"agination and t&!s. a(le to
c&ange t&is reality fro" 'orse to (etter1 Stanza 2I. '&ic& affir"s t&at $W&en t&e (lack(ird
fle' of sig&t.J2t "arked t&e edgeJOf one of "any circles)1 6&'. :C= is anot&er instance of
t&is positive 'ay to see t&e (lack(ird1 %&e vie' of t&e (lack(ird flying gives pleas!re. it
stresses $t&e kins&ip '&ic& t&e p&ysical !niverse. represented (y t&e (ird. creates a"ong
&!"an (eings) 67L#SS2AG. 9:KL: BL=1
%&e d!et in stanza I22 esta(lis&es a relation of ca!se and effect t&at see"s to (e
illogical at first: $%&e river is "oving1J%&e (lack(ird "!st (e flying) 6&'. :C=1 2t sets a
condition t&at if t&e river flo's contin!ally. t&e (lack(ird is necessarily flying. '&en it is
kno'n t&at t&ings do not occ!r t&is 'ay1 7ot&. t&e river and t&e (lack(ird "ove and fly
independently fro" eac& ot&er. (!t. like in stanza 222. t&ey are again $part of t&e
panto"i"e): eac& one plays its role. and t&ey are integrated in t&e '&ole panto"i"e1 %&e
rese"(lance (et'een t&e (lack(ird and t&e river. once "ore. is connected to "ove"ent: t&e
river flo's. t&e (lack(ird flies and life is e"(edded in t&is fl!D. as Stevens e"p&asizes in
$Life is Motion) 6&'. HB=1
K
Stanza I222. (y finis&ing t&e poe" in t&e sa"e environ"ent it startsGa sno'y
landscapeG confers a certain circ!larity to t&e poe"1 2t "ay eDplain t&at t&e disorder of t&e
stanzasGit see"s t&at t&ey are p!t at rando" and co!ld c&ange places 'it&o!t altering t&e
effect of t&e poe"Gis only apparent1 %&is circ!larity. t&o!g&. does not necessarily i"ply a
clos!re of t&e poe". (!t "ay s&o' t&at. 'it&in t&e "any 'ays to see t&e (lack(ird. it is
possi(le to &ave several $versions of a single scene) 67L#SS2AG. 9:KL: ?;=1
Several critics &ave tended to associate Stevens (lack(ird 'it& a negative
connotation. !s!ally 'it& deat&1 Willia" 7!rney. for instance. says t&at $%&irteen Ways of
Looking to a 7lack(ird) is a co!nterpart of anot&er poe". $Do"ination of 7lack). and (ot&
are $poe"s a(o!t t&e (lack aspect of reality) 67UA#8. 9:;H: ?H=1 Posep& iddel sees t&e
(lack(ird as $a re"inder of deat&s ever presence) 69:;<: HK=1 2n ic&ard 7lessings 'ords.
t&ere is a tendency $to fasten t&e (lack(ird to a single a(stract "eaning and "ake allegory of
t&e entire poe") 69:KL: ?<=1 %&e analysis presented in t&is paper. &o'ever. e"p&asizes t&e
positive aspects of t&e (lack(ird in t&e poe"1 %&e n!"(er t&irteen and t&e (lack color &ave
in fact a negative connotation. (!t it see"s 6to "e = t&at t&e poe" s!cceeds in reversing
t&e"1 %&e t&irteen different conteDts c&osen (y Stevens to place &is (lack(ird convey. in "y
opinion. t&e po'er of poetry to c&ange t&ings1 2n anot&er poe". $A >ig&5 %oned Old
N&ristian Wo"an) 6&'. <:= Stevens "anages to s&o' t&at poetry. $t&e s!pre"e fiction.
takes $t&e opposing E"oralF la') and constr!cts its o'n &eaven. '&ipping $a jovial
&!lla(aloo a"ong t&e sp&eres)1 Fictive t&ings are po'erf!l eDactly (eca!se t&ey are a(le to
c&ange1 2t also occ!rs in $%&irteen Ways of Looking at a 7lack(ird): a reality taken for
granted G t&e (ad o"en t&at n!"(er t&irteen and t&e (lack color represent G is c&anged (y
t&e po'er of i"agination on it1
H
$%&irteen 'ays of looking at a (lack(ird) is abstract, it changes, and it gives
pleasure1 %&e poe" see"s to a(sor( t&e '&ole p&ilosop&y of poetry presented in Stevens
"ost a"(itio!s reflection on t&e po'er of poetry: t&e poe" $Aotes %o'ard a s!pre"e
fiction) 6&'. BHL=1 2ts s!(title It (ust be Abstract, It (ust &hange, It (ust )ive 'leasure
s&o's t&e eDact di"ension Stevens conferred to poetry1 2t can (e said t&at $%&irteen Ways
of Looking at a 7lack(ird) is $a ne' o(ject of "oral i"agination: 6111= it confronts reality
ane' and transcends reality) 6WAGA#. 9:;B: K<=1
%&is reflection ai"s at s&o'ing. parap&rasing t&e poet. so"e $'ays of looking at
Stevens poetry)1 %&e dra'ings attac&ed to t&e teDt constit!te one "ore 'ay to interpret t&e
poe"1 A painting (y 4icasso. $Man 'it& t&e 7l!e G!itar). inspired Stevens in &is long poe"
of t&e sa"e title1 2t "eans t&at Stevens also conceived an interface (et'een vis!al art and
poetry1 %&e dra'ings s&o' t&e ot&er side of t&e process (y transposing t&e (lack(ird $"ade
o!t of 'ords) to t&e (lack(ird "ade o!t of lines. perspectives. and s&ado's1 %&is se"iotic
process e"p&asizes t&at "eaning is neit&er confined to a certain syste" of representation
nor li"ited to it1 2t "ay also indicate t&at Stevens poetry goes (eyond a $s!pre"e fiction)
to'ard a s!pre"e art. in an atte"pt to find. as Wilt and >!rt 69::?: 9;9L= affir". $'&at 'ill
s!ffice)1
:
Works cited
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4ress. c9:KL1
7LOOM. >arold1 * apa da desleitura1 %rad!*0o de %&el"a M-dici A,(rega1 io de
Paneiro: 2"ago. 9::<1
7AD7U8. Malcol"1 An ironic ro"antic: t&ree readings in Wallace Stevens1 2n:
#>A4#2S. 2rvin 6#d1=1 Aerican poetry1 London: #d'ard Arnold. c9:;<1 p1 9<<59KB1
7UA#8. Willia"1 Wallace Stevens1 Ae' 8ork: %'ayne. c9:;H1
#LLMAA. ic&ard1 Wallace Stevens ice crea"1 The #enyon +eview. Ga"(ier. O&io. v1 9:.
p1 H:59L<. 9:<K1
F8#. Aort&rop1 %&e realistic oriole: a st!dy of Wallace Stevens1 2n: 7OOF. Marie
6#d=1 Wallace Stevens$ a collection of critical essays1 #ngle'ood Nlifs. AP: 4rentice5>all.
c9:;B1 p1 9;959K;1
2DD#L. Posep& A1 The clairvoyant eye: t&e poetry and poetics of Wallace Stevens1 7aton
o!ge: Lo!isiana State University 4ress. 9:;<1
S%#@#AS. Wallace1 The collected poes of Wallace Stevens1 Ae' 8ork: Alfred A1 Mnopf.
9:<K1
S%#@#AS. Wallace1 %&ree acade"ic pieces: 21 2n: 7OOF. Marie 6#d=1 Wallace Stevens$
a collection of critical essays1 #ngle'ood Nlifs. AP: 4rentice5>all. c9:;B1 p1 ?C5?:1
WAGA#. oland N1 Nentral poetry1 2n: 7OOF. Marie 6#d=1 Wallace Stevens$ a
collection of critical essays1 #ngle'ood Nlifs. AP: 4rentice5>all. c9:;B1 p1 K95K<1
W2LM2#. 7rianQ >U%. Pa"es1 ,iterature of the western world1 Brd ed1 @ol1 ?1 Ae' 8ork:
MacMillan. c9::?1
2l!stra*+es: Dilce Alves Laranjeira
9L